In her “Edition Salzburger Festspiele”, Eva Schlegel uses a series of pornographic amateur photographs from the 1960s that she found on slides at a disposal site for hazardous household waste and that are also part of her pieces using lead and lacquer. From a distinctly feminist perspective, she places the pornographic image at the centre of Scene 1 (2013) and overlays the subject with a blurred text that is no longer legible, eluding voyeuristic scrutiny, unlike the image, which is clearly visible. The illegible writing confronts viewers with the limits of their visual perception: Despite its shadowy appearance, the text remains recognisable as such due to its characteristic structure.

— Magdalena Koschat